Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club.

Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas.

Museum exhibitions of the artist’s work have recently been presented at The Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of The Metropolitan Museum of Art, SFMOMA, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative Photographs.

EMMET GOWIN (b. December 22, 1941) received a BFA in Graphic Design from the Richmond Professional Institute (now Virginia Commonwealth University) in 1965 and an MFA in Photography from the Rhode Island School of Design in 1967.

He served on the faculty of Princeton University as a professor of photography in the Visual Arts Program from 1973 until his retirement in 2009, and is the recipient of a Guggenheim Fellowship (1974) and two National Endowment for the Arts Fellowships (1977, 1979).

For six decades, Gowin has contemplated humanity’s relationship to the natural world with visual wonderment. His photographs have evolved from intimate portraits of his wife Edith Morris and extended Virginia family, to aerial vistas of nuclear test sites, to scientific surveys of tropical ecosystems and their dependent biodiversity. He has created formally abstract, luminous compositions of the volcanic devastation of Washington’s Mount St. Helens, the chemical contamination of the Hanford Nuclear Reservation, pivot irrigation agriculture in Kansas, the chemo-petrol industries of the Czech Republic, and most recently, the Spanish province of Granada.